In show business, the first impression can sometimes be the last impression. Producers, directors and casting directors are busy people. The deciding factor in giving an unknown (or even an experienced actor whose opportunities have been limited) a chance to read for a part is often based on first impressions.
Always have professional pictures of yourself, and be ready to show them without apologies or explanations. Your graduation picture won't do, nor will glamour-gimmicked photos of the type displayed in night-club lobbies. The pictures should show you: some, headshots showing a fair range of moods; others, in various types of wardrobe.
Have extra prints of each picture. Your interviewer may want to keep one. Make certain that your name, address, phone number and vital statistics are written legibly on the back of each photograph. Don't be misled into thinking that the pictures he rejects are "no good."
Have a neatly typed, short outline of your background, qualifications and (if you've ever appeared anywhere, in anything) your credits.
Be honest. Don't invent non-existent credits. You'll only identify yourself as an impostor, a charlatan, or to use show-business terminology, "a phony." "Any casting director can spot a phony every time" is a show-business axiom. If your only credit is a single appearance in the chorus line of a high-school operetta, say so. Everybody has to start out somewhere.
Perhaps your teacher will give you a card stating your credentials. Some teachers and coaches periodically give the not-so-fully-established actor a card stating how long he has studied and what, in their opinion, he is capable of doing at that time. These cards help the actor in getting interviews and protect the teacher, or coach, from false claims by overeager job seekers, who claim to be a client of theirs after one lesson.
Some of the first questions you'll be asked are:
"Tell me about yourself."
"What have you done?"
Tell the truth. If you have no film, say so. If you have no professional stage credits, say so.
However, there is a way out. Almost every casting director will help you. Ask for a chance to read for him, or to audition a scene you have already prepared. He's looking for talent, and he'll usually give you a scene, if you don't have one. You can take it home, study it, then come back and do it for him. If he likes the way you do it, he'll indicate the next move for you.
He may not need you today, but he will remember you tomorrow. He'll remember how you read, how you handled yourself, and whether you were able to live up to your claims. He casts something every day and he knows better than anyone that there is a definite place for the well-trained beginner.
At the present time, all professionals must belong to at least one of the organizations in the "four A's." The four A's are the Associated Actors and Artists of America. There are more than four now, but they are still called the four A's.
Among them are AFTRA (American Federation of Television and Radio Artists), SAG (Screen Actors Guild), Equity (Actors' Equity Association), AGMA (American Guild of Musical Artists), AGVA (American Guild of Variety Artists) and SEG (Screen Extras Guild), which is devoted primarily to the interests of people appearing as general atmosphere in motion pictures and in filmed television.
Under the Taft-Hartley law, a newcomer is allowed thirty days after his first professional performance before he is obliged to join one of the professional guilds or unions. The one he joins first becomes his parent union. There is a reciprocal arrangement among the four A's that acts in favor of the performer who works in the various mediums under their jurisdiction.
When an interview is over, leave. Don't drag it out, wasting the interviewer's time - and yours. If you've left pictures, or a list of credits, with the interviewer, tell his secretary on your way out of the office. Give her an extra word of thanks when you say goodbye.
Most of all keep trying and never give up.
How To Start Acting Career
You know, when your friends look at you like you're nuts, or when your family or significant other starts talking to you, quietly, about considering another line of work. There are even teachers, coaches and authors of 'helpful' books who eagerly tell you, that what you are doing with your life is a 'crazy dream' (as if they knew you well enough to have an opinion).
Believe me, if you listen to these people - you are not going to get where you want to go.
Here are a few folks you should listen to instead:
"Don't tell me not to fly, I've simply got to. If I take a spill, it's me and not you. Who told you you're allowed to rain on my parade?" ~ Lyrics from Funny Girl
"How much time he saves who does not look to see what his neighbor says - or does - or thinks." ~ Marcus Aurelius
"Life is short, but it's long enough to ruin anyone who wants to be ruined." ~ Josh Billings
This is what these pretty smart people are saying about listening to other people with regard to your dream: It's me, not you. Who cares what you think? You can only ruin this if I let you.
Those people, the ones who are telling you to give it up, may be perfectly well-intentioned - they don't want to see you get hurt, let's say - or they just want to make sure that you are safe and secure in the challenging world of retail shoe sales.
Or, it's possible they are just mean-spirited bozos with nothing better to do with their time. Their life is a disaster and they can't bother trying to fix it, so they have plenty of spare time to give you the 'facts of life.'
But this is YOUR decision.
This is YOUR life.
YOU are the one who has to DO what has to be done.
I hope I've convinced you that you should never, ever, substitute someone else's beliefs (sometimes erroneously called thoughts) for your own.
Okey dokey, now that we've gotten past all the people who are standing in our way - we're ready to 'go for the gold' -right?
Not so fast. There is one other person who simply refuses to get out of your way. I think you know who I mean. I think you know what I'm going to say next ...
Oh yeah ... it's YOU!
The only person who can actually stop you from realizing your dream is you.
Do you know why you're the last person standing in your own way?
Psychiatrists have loads of different answers to that question but I only have one: We tend to stand in our own way because we're afraid.
What are we afraid of A lot of things: Failure. Rejection. Finding out we're not talented. Success. Finding out what other people think of us. Showing up our family or friends. Not being accepted by our peers. Being embarrassed. Being wrong. Being laughed at. Being the goat.
All of these fears and many others are out there waiting for us, but, in my not so humble opinion what we're really afraid of - what really keeps us from the success we want - what builds these seemingly insurmountable walls of fear is ... CHANGE.
Human beings don't like change, so we try to play it safe.
For instance, we actors often fall into a comfortable routine of classes, showcases, mass mailings, networking opportunities and relationships where our predetermined outlook is not examined, questioned or challenged. To be blunt, our careers fall into a rut. Our headshots are three years old. We hold down jobs we hate to pay for our 'habit.' We've seen the inside of more dingy little theatres than a 100-year-old fire inspector. And we keep doing it this way because we don't like change.
But, if we don't change, guess what? We end up like Wile E. Coyote, constantly buying into the latest "Acme" product and hoping that this new gimmick will work. And like that crazy coyote, we generally end up going over the cliff - ker-floop - onto the canyon floor.
It gets old, real fast.
We all know, instinctively, what our behavior really means: Actors who keep doing the same thing over and over again - expecting to get different results - probably need the help of a mental health professional, not another pay-for-play showcase.
As an example, many of us obstinately keep using a headshot that doesn't work (get us called in) and insist that the problem lies in the behavior of agents and casting directors. The facts elude us because we have the sympathetic ear of other Wile E. Coyotes. No matter what you've been told, it's NOT a numbers game - it's a face game.
Or we attend workshops religiously without any forward progress, network like insurance salesmen at a retirement village, hoping for the brass ring - do unpaid gig after unpaid gig, hoping against hope that Spielberg will show up in the audience, one lucky night, and carry us away to the stardom we so richly deserve - because we want it so much.
After a couple of years of this merry-go-round, we get weary. And, unfortunately, sometimes, we get cynical. It's the path of least resistance.
The irony is that this weary cynicism, which we adopt without complaint, is ... CHANGE.
Unfortunately, this kind of change will cost us our love of what we do, our commitment to our goal, our self respect, and, worst of all, the company of other actors who know that cynicism is the career killer.
My opinion? If you want better (different) results, get comfortable with change.
Because it's going to happen, whether you like it or not.
Both Jimmy Cox & Bob Fraser are contributors for EditorialToday. The above articles have been edited for relevancy and timeliness. All write-ups, reviews, tips and guides published by EditorialToday.com and its partners or affiliates are for informational purposes only. They should not be used for any legal or any other type of advice. We do not endorse any author, contributor, writer or article posted by our team.
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